French Horror : Penser L'image Vidéoludique Par L'horreur. Images

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French Horror : Penser L'image Vidéoludique Par L'horreur. Images 7 Alternative francophone (2021) Volume 2 Numéro 8 French Horror : penser l’image vidéoludique par l’horreur. Images monstrueuses et monstration de l’image, de Zombi à 2Dark. https://doi.org/10.1215/08992363-10.29173/af29417 Guillaume Baychelier [email protected] E.A. CLARE, Université Bordeaux Montaigne Résumé. Cette étude examine, à travers un corpus de jeux vidéo horrifiques développés en France sur une période de près de 25 ans, comment le renouvellement des iconographies et la relecture des codes narratifs, tout comme celui des mécaniques de jeu qui y sont habituellement employées, constituent rarement le cœur de des propositions vidéoludiques françaises. Néanmoins, nous montrons comment ces créations ont bien souvent pour point commun de mettre en perspective les procédés de mise en image qu’ils déploient, de la mise en scène au mode de modélisation adopté en passant par la question du flux des images et du regard. Il s’agit donc de voir comment l’horreur, devenue terrain de jeu avec l’image, semble être un prétexte idéal pour travailler, explorer, manipuler le médium et, ainsi, faire évoluer le média. Mots clés : Horreur; jeu vidéo; image; France Abstract. This study examines, through a corpus of horrific video games developed in France over a period of nearly 25 years, how the renewal of iconographies and the re-reading of narrative codes, as well as the game mechanics usually employed in them, rarely constitute the core of French videogame proposals. Nevertheless, we show how these creations very often have in common to put into perspective the imaging processes they deploy, from the staging to the modeling mode adopted, as well as the Alternative francophone https://journals.library.ualberta.ca/af/index.php/af 8 Guillaume Baychelier question of the flow of images and the gaze. It is thus a question of seeing how horror, which has become a playground with the image, seems to be an ideal pretext for working, exploring, manipulating the medium and, in this way, making it evolve. Keywords: Horror; video game; image; France PANORAMA DE L’HORREUR EN FRANCE enre vidéoludique par excellence (Perron 14), le jeu de « survie horrifique » (« survival-horror ») et plus largement l’horreur vidéoludique permet de dessiner les contours de tout un médium à G l’aune de l’éventail de contraintes qu’ils déploient. La rigueur et l’âpreté inhérentes au genre donnent à voir la structure même des jeux vidéo, les montrant tels qu’en eux-mêmes, c’est-à-dire en tant que dispositifs de jeu et d’image capables de mobiliser un large spectre d’affects (Baychelier 92). Au-delà de l’attrait thématique, esthétique et ludique qu’il peut exercer, le recours à l’horreur est un biais pertinent pour développer et comprendre les enjeux relatifs à la pratique vidéoludique. Ainsi, l’horreur jalonne l’histoire du média depuis, quasiment, ses origines – de Mystery House (Roberta Williams, 1980), House of Usher (Crystalware, 1980), Nostromo (ASCII, 1981) à Haunted House (James Andreasen, 1982). Très tôt, des studios de développement français se sont intéressés de près à l’horreur, à travers, notamment, le prisme des jeux d’aventure1. Qu’ils soient simplement inspirés de récits horrifiques ou qu’ils construisent leurs mécaniques ludiques autour de modalités de jeu qui se cristalliseront plus tard en un genre bien défini, nombre de jeux marquent les débuts d’une veine ludique : de I.L. L’intrus (Infogrames, 1983) à Infernal House (Lankhor, 1991) en passant par, Peur sur Amityville, Hurlements (Ubi Soft2, 1987, 1988), Le Pacte (Loriciels, 1986), etc. Certains jeux dépasseront ce statut de pionniers pour apparaître comme fondamentaux dans l’histoire du média, comme Zombi (Ubi Soft, 1986), mais surtout Alone in the Dark (Infogrames, 1992). Sans déroger au fait que les jeux vidéo d’horreur constituent un genre de niche dans la production globale du média, les titres horrifiques produits en France sont, depuis, restés présents de manière régulière dans le paysage vidéoludique. En témoignent Alone in the Dark 2 (Infogrames 1993), Alone in the Dark 3 (Infogrames 1994), Devil Inside (Gamesquad/Cryo Interactive, 2000), Alone in the Dark: The New Nightmare (Darkworks/Infogrames 2001), From Dusk Till Dawn (GameSquad/Cryo Interactive, 2001), ObsCure (Hydravision/Microïds, 2004), Cold Fear (Darkworks/Ubisoft, 2004), Obscure 2 (Hydravision/Playlogic International, 2007), Alone in the Dark (Eden Games/Atari, 2008), ZombiU (Ubisoft Montpellier, 2012), Amy (Lexis Numérique, 2012), White Night (OSome Studio, 2015), Narcosis (Honor Code, Inc., 2017) et 2Dark (Gloomywood, 2017). Cette liste constitue un corpus quasi exhaustif3 de jeux vidéo d’horreur développés en France sur une période de presque 25 ans. 1 Comme le note Alexis Blanchet, « [l]e jeu d’aventure français est une des premières formes à s’emparer du motif horrifique dans la production vidéoludique nationale. Ce genre se situe entre ses modèles américains et sa propre identité nationale : il adapte les interfaces et les composantes des jeux anglo-saxons en injectant dans ses contenus des thématiques en relation avec la vie quotidienne des années 1980, une dose d’humour potache et de satire ainsi qu’une forme de critique sociale » (non paginé). 2 Première graphie avant l’adoption de « Ubisoft » fin 2003 (Blanchet et Montagnon 284). 3 Ce corpus comprend essentiellement des productions majeures, à tout le moins ayant étant massivement diffusées. Des titres indépendants très peu diffusés manquent certainement à cette sélection qui, malgré un désir d’exhaustivité, ne peut y prétendre. Par ailleurs, nous avons délimité ce corpus en excluant les jeux qui adoptent une esthétique ou 9 Hurlements, Ubi Soft, 1988. À l’aune de l’histoire du média, il apparaît que certaines productions françaises ont été déterminantes pour la mise en forme de l’horreur vidéoludique dès les années 1990, période qui a vu sa structuration en genre à part entière. Comme nous allons le voir plus en détail, Alone in the Dark (1992) en constitue un jalon majeur. Les spécificités de ce jeu, tant sur le plan ludique que pour ce qui concerne sa mise en image, ont infléchi toute une lignée de jeux vidéo et tracé les contours d’un type d’expérience ludo- narrative alors inédit. Alone in the Dark constitue un tournant dans le discours formel des jeux vidéo. Par ailleurs, d’autres productions françaises vont participer, plus modestement, à la construction du genre horrifique au fil des décennies. Néanmoins, qu’ils soient fondateurs ou non, ces jeux cachent difficilement le paradoxe qui les habite : ces productions ont en partage l’emploi d’une palette iconographique dont l’originalité formelle ne semble pas être l’atout majeur. Il appert que les jeux vidéo d’horreur développés en France ne s’écartent que rarement de motifs dont la familiarité diminue la force de saisissement. L’on sait pourtant l’importance de l’iconographie monstrueuse comme ressort capable de mobiliser les affects négatifs constitutifs de l’expérience horrifique (Baychelier 85). Dès lors, il semble légitime de s’interroger sur ce qui rend ces productions singulières en tant que propositions horrifiques et partant, d’envisager quelle serait la relation au jeu, mais également à l’image qu’elles rendent possible. De fait, elles nous mettent sur la voie d’une une thématique proche de l’horreur mais n’en relevant pas sur le plan du game design, à l’image de Zombi Night Terror (NoClip/Good Sheperd Entertainment, 2016) qui, sous des hommages aux films de zombies, propose un puzzle game. De même, par exemple, pour Necronomicon : L’Aube des ténèbres (Cryo Interactive/ Wanadoo, 2000) ou Call of Cthulhu (Cyanide/Focus Home Interactive, 2018) dont les trames narratives inspirées soutiennent des mécaniques de jeu d’aventure s’éloignant in fine de celles structurant les jeux horrifiques malgré quelques accointances. Dans le registre de l’action, il en va de même pour Nightmare Creatures I et II (Kalisto Entertainment/Konami, 1997, 2000). Alternative francophone https://journals.library.ualberta.ca/af/index.php/af 10 Guillaume Baychelier relation à l’image ne reposant pas tant sur la part iconographique du jeu ni même le caractère iconique ou épistémique (Aumont 148) de celle-ci, mais bien plus sur leurs modes d’apparition – des procédés de mise en scène aux particularités des moteurs graphiques. Cette étude se propose donc d’observer comment certaines productions développées en France entre les années 1980 et 2010 s’appuyant sur les singularités de l’expérience ludique horrifique ont contribué à interroger les spécificités du médium vidéoludique en tant qu’il est dispositif d’image, au sens où l’image n’est pas seulement support, mais également « logique productrice de sens » (Lojkine 13). Tout en délinéant les contours de l’horreur vidéoludique et en qualifiant les iconographies que ce genre développe, il nous faudra mettre en regard de ces informations un corpus de jeux vidéo développés en France afin d’en saisir les forces et les limitations. Ensuite, il s’agira d’observer comment l’expérimentation formelle rendue possible par l’iconographie monstrueuse semble se déplacer au profit d’un questionnement sur l’image vidéoludique même. LES CONTOURS DE L’HORREUR : RÉCITS D’ÉPOUVANTE ET « TOPOPHOBIE » Afin de saisir en quoi les productions retenues dans notre corpus adhèrent aux enjeux de l’horreur vidéoludique, il s’agit en premier lieu de définir les contours de ce genre. L’observation de jeux fondateurs, au retentissement international, tels que Alone in the Dark, Resident Evil (Capcom, 1996) ou Silent Hill (Konami CE Tokyo/Konami, 1999), fait apparaître que le propre des productions horrifiques est, à travers la combinaison d’éléments décisifs, de faire de l’émergence d’affects puissants un enjeu central de leur pratique. Ainsi, tous trois proposent des scénarios d’enfermement à même de développer un sentiment d’angoisse et d’insécurité.
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